Kathryn Andrews’s “Black Bars” opened at David Kordansky Gallery mere days before the US presidential election. It followed by almost exactly a year the artist’s solo exhibition at the Museum of Contemporary Art Chicago, titled “Run for President,” in which she questioned fame parlayed in the service of politics through pieces featuring such public figures as Ronald Reagan and Bozo the Clown (aka Larry Harmon, whose rubber-nosed, yak-haired alter ego ran against Reagan in 1984). Cassandra-like, the Chicago show presaged a climate in which the aforementioned historical cases are less exceptional than one might have hoped, even as their gruesome particulars pale in relation to the phosphorescent glow of Trump orange. Organizing principles of surveillance and censorship assumed a different cast in the weeks after the opening, even as the titular black bars cuing redacted information